Artists have superior local and global processing abilities but show a preference for initially drawing globally

The attentional demands of drawing require both local processing of an object’s details and global processing of its overall structure. In this study, we examined the extent to which artists have superior local and global processing skills, how these skills relate to artists’ ability to draw realistically and to autistic-related traits, and whether artists initially take a local or global approach to drawing. Forty first-year college art students and 41 nonart students completed two tasks assessing local processing and two tasks assessing global processing. Participants completed two drawing tasks that assessed their ability to draw realistically, two copying tasks that assessed whether they showed a preference for initially copying the local or global aspects of an object, and the Autism-Spectrum Quotient that assessed autistic-related traits. We found that art students outperformed nonart students on both the local and global processing tasks and that drawing ability was related to performance on these tasks. We also found that art students were more likely than nonart students to initially copy the global features in their drawings. Finally, we found that art students did not exhibit more autistic-related traits than nonart students and that the number of autistic-related traits was unrelated to performance on the local and global processing, drawing, or copying tasks. These results suggest that art students have an attentional flexibility that allows them to process information at a local and global level but that they have a preference for initially drawing globally

Communication and Meaning-Making Are Central to Understanding Aesthetic Response in Any Context

Conceptions of aesthetic experience extend beyond beauty to include any evaluative judgment or emotion experienced in response to an artwork. In this opinion piece, we discuss the nature of artistic communication and how it might be facilitated inside and outside of museum settings

Learning to See by Learning to Draw: A Longitudinal Analysis of the Relationship Between Representational Drawing Training and Visuospatial Skill

A growing body of correlational research has revealed systematic relationships between various aspects of visuospatial processing and representational drawing ability. However, very few studies have sought to examine the longitudinal development of the relation between drawing and visuospatial ability. The current investigation explored change in drawing and visuospatial skill in art students taking a foundational drawing course (n = 42) in a longitudinal design. Measures of representational drawing skill, dispositional traits, and visuospatial skill were taken at three time points over the course of five months. The findings reveal improvements in representational drawing, mental rotation, disembedding figures, and attentional switching. However, individual differences in change over time on one task did not predict change in another, revealing implications for domain-specific and domain-general aspects of art and design expertise

Artists as experts in visual cognition: An update

The question of whether and how visual artists see the world differently than nonartists has long engaged researchers and scholars in the arts, sciences, and humanities. Yet as evidence regarding this issue accumulates, it has become clear that the answers to these questions are by no means straightforward. With a view to advancing ongoing debate in this field, the current study aimed to replicate and extend previous research by exploring the differences in visual-spatial ability between art students (n = 42) and nonart students (n = 37), using a comprehensive battery of visual-spatial and drawing tasks. Art students outperformed nonart students on drawing measures and some (but not all) visual-spatial tasks. This nuanced pattern of results broadly supports the notion that art students differ from nonart students in their ability to exert top-down control over attentional processing, but not in the phenomenology of low-level visual processing. Implications for theories of artistic expertise are discussed

Talent Development in Achievement Domains: A Psychological Framework for Within- and Cross-Domain Research

Achievement in different domains, such as academics, music, or visual arts, plays a central role in all modern societies. Different psychological models aim to describe and explain achievement and its development in different domains. However, there remains a need for a framework that guides empirical research within and across different domains. With the talent-development-in-achievement-domains (TAD) framework, we provide a general talent-development framework applicable to a wide range of achievement domains. The overarching aim of this framework is to support empirical research by focusing on measurable psychological constructs and their meaning at different levels of talent development. Furthermore, the TAD framework can be used for constructing domain-specific talent-development models. With examples for the application of the TAD framework to the domains of mathematics, music, and visual arts, the review provided supports the suitability of the TAD framework for domain-specific model construction and indicates numerous research gaps and open questions that should be addressed in future research

Object Recognition in Picasso’s Abstract Art

The visual arts have for hundreds of years presented viewers with images that have been more or less representational of the external world. In fact, many of these images have been such convincing representations of the world that they can fool the viewer into thinking that the representation is in fact reality or a photograph, and not paint on a canvas. Examples of such trompe I’oeil (fool the eye) paintings are some of the works of Jan Vermeer, or Fra Andrea Pozzo's painting on the ceiling of the Church of Sant' Ignazio in Rome (Rock, 1984). There are certain limitations on being fooled, however. For example, spectators must view the painting from the same angle from which the artist viewed it. Characteristics of paintings that would destroy the illusion, such as brush strokes, must also be concealed (Rock, 1984).</p